What Is Modernity?: Writings of Takeuchi Yoshimi (Modern Chinese Literature from Taiwan)

Some General Reflections 9. La metamorphose des image poetiques des symbolistes francais aux symbolistes chinois, University of Michigan, Must Context Entail Determinism? The May Fourth era is considered a pivotal point in the history of modern China. Conventional narratives concentrate on the dominant intellectual current of the period, the New Culture Movement, as the inspiration for social reform and political revolution. This book challenges that revolution-centered narrative of May Fourth history by showing how the propositions of New Culture were questioned and revised after the initial radical phase.

Through a focus on the post debates on culture, identity, and history, this book argues that Chinese intellectuals reformulated their visions of modernity through critiques of both Occidentalism and totalistic iconoclasm. Importantly, it also argues that the global post-WWI ambivalence towards the idea of Progress in Western civilization impacted significantly on the development of the May Fourth era in its latter stage.

Also in Tani Barlow, ed. Duke University Press, , The Aesthetics of Historical Experience. Bloomsbury, Modernism and China. U of South Carolina Press, Emotions and Media Sensation in s China.

Transnational Texts, Local Critiques. Reflections on Urban Culture in China in the s. Dandyism and Transcultural Modernity: This book views the Neo-Sensation mode of writing as a traveling genre, or style, that originated in France, moved on to Japan, and then to China. To illustrate the concept of transcultural modernity, three icons are highlighted on the transcultural site: Their performance marks the essence of transcultural modernity: To develop the concept of dandyism—the quintessence of transcultural modernity—the Neo-Sensation gender triad formed by the dandy, the modern girl, and the modern boy is laid out.

Tradition et modernite dans la litterature chinoise des annees trente. Editions Bleu de Chine, , Rabut, Isabelle and Angel Pino, eds. Editions Bleu de Chine, University of London, In Manzhouguo, literature was a vital domain for the negotiation of Chinese cultural identities in a Japanese colonial context. The Rise of the Humor Phenomenon in Shanghai in the s. The rise of youth is among the most dramatic stories of modern China. Young China takes youth as a central literary motif that was profoundly related to the ideas of nationhood and modernity in twentieth-century China.

A synthesis of narrative theory and cultural history, it combines historical investigations of the origin and development of the modern Chinese youth discourse with close analyses of the novelistic construction of the Chinese Bildungsroman , which depicts the psychological growth of youth with a symbolic allusion to national rejuvenation. Negotiating between self and society, ideal and action, and form and reality, such a narrative manifests as well as complicates the various political and cultural symbolisms invested in youth through different periods of modern Chinese history.

In this story of young China, the restless, elusive, and protean image of youth both perpetuates and problematizes the ideals of national rejuvenation. Visions of Socialism among Chinese Intellectuals in the Early s. Politics and Literature in Shanghai: The Debate on Cultural Construction. University of Hawaii, Westernised Urbanity and Scriptural Mimesis. Configurations of Space, Time, and Gender. Modernist Inscriptions of Shanghai in the s. First published in Modern Chinese Literature 9, 1 Spring Apter, David, and Tony Saich. Chung, Hilary and Tommy McClellan.

Conferences, Controls and Excesses. In the Party Spirit: Cambridge University Press, The Communists strived for a disciplined cultural army to promote party policies, but audiences often shunned modern and didactic shows, and instead clamoured for traditional works. DeMare illustrates how drama troupes, caught between the party and their audiences, did their best to resist the ever growing reach of the PRC state.

Chinese Wartime Literature, Art, and Film, FitzGerald traces the evolution of Chinese modernism during the War of Resistance against Japan and Chinese Civil War through a series of close readings of works of fiction, poetry, film, and visual art, produced in various locations throughout wartime China.

Showing that the culture of this period was characterized by a high degree of formal looseness, she argues that such aesthetic fluidity was created in response to historical conditions of violence and widespread displacement. Moreover, she illustrates how the innovative formal experiments of uprooted writers and artists expanded the geographic and aesthetic boundaries of Chinese modernism far beyond the coastal cities of Shanghai and Beijing. Introduction Out of the Ashes: Towards a Wartime Aesthetics of Dissolution; Chapter 1: A Sonnet in an Air-Raid Shelter: Mu Dan and the New Lyricism; Chapter 2: Intersections between Cartoon and National Art: Between Forgetting and the Repetitions of Memory: Neverwas Rides a Plane: Wartime Autobiography as History; Epilogue: Modernist Echoes in the Post-Mao Era].

Passivity, Resistance, and Collaboration: Intellectual Choices in Occupied Shanghai, Chinese Literature in Shanghai and Peking, The War with Japan, ME Sharpe, , Comparative Literature and Culture 17, 3 Art and Ideology in Revolutionary China. Written in the Ruins: War and Domesticity in Shanghai Literature of the s. Shanghai under Japanese Occupation. Shanghai Literature and Popular Culture of the s. In December , the fifth year in an all-scale cataclysmic Sino-Japanese war that devoured much of Eastern China, the city of Shanghai entered into an era of full occupation.

This was the moment when a group of young women authors began writing and soon took over the cultural scene of the besieged metropolis. Women, War, Domesticity reconstructs cultures of reading, writing, and publishing in the city of Shanghai during the three years and eight months of Japanese occupation. It specifically depicts the formation of a new cultural arena initiated by a group of women who not only wrote, edited, and published, but also took part in defining and transforming the structure of modern knowledge, discussing it in various public forums surrounding the print media, and, consequently, promoting themselves as authoritative cultural commentators of the era.

War and Popular Culture: Resistance in Modern China, Leaders, Heroes and Sophoisticates. Problems in Transforming a Literary Intelligentsia. La litterature chinoise au temps de la Geurre de resistance contre le Japon. Editions de la Fondation Singer-Polignac, Chinese Literary Mobilization during the War Years. Social Space and Volatile Bodies, This article focuses on how Maoist discourse engineered revolutionary emotions as a method of political mobilization.

Based on personal memoirs and eyewitness accounts, it argues that the Maoist discourse can be disaggregated into three themes, each aimed at provoking one type of emotion: It also argues that Maoist discourse propagation employed three techniques—personalization, magnification, and moralization—and emphasizes that these techniques of propagation are as important as the content of the three themes in the production of passions. Dispatched by the Communist Party of China CPC , wengongtuan members took on the task of mobilizing peasants into cultural production, and realized a self-reconstruction in the process of integrating themselves into the lives of revolutionary peasants.

The Case of the Translator Ouchi Takao. Borrowing affect theory in conjunction with the gendered perception of modernity, the author argues that these representations of female characters, on the one hand, highlight the subjective projection of male intellectuals motivated by intense feelings of shame and anger, which constitutes a feminized national imagination encountering the colonial Other.

On the other hand, such representations continue the May Fourth project of enlightening and liberating woman from the conventional family while reintroducing the concept of the nation in the family setting and proposing the foundational family as the basic unit of the new nation.

On the Margins of Modernism: Edinburgh University Press, Xu Xu and Wumingshi were among the most widely read authors in China during and after the Second Sino-Japanese War , but although they were an integral part of the Chinese literary scene their bestselling fiction has been given scant attention in histories of Chinese writing. This groundbreaking book, the first book-length study of Xu Xu and Wumingshi in English or any other western language, re-establishes their importance within the popular Chinese literature of the s.

With in-depth analyses of their innovative short stories and novels, Christopher Rosenmeier demonstrates how these important writers incorporated and adapted narrative techniques from Shanghai modernist writers like Shi Zhecun and Mu Shiying, contesting the view that modernism had little lasting impact in China and firmly positioning these two figures within the literature of their times. The Manchurian Writers and Zhou Yang. Shi wu nian zhanzheng qi de Zhongguo wenxue Chinese literature during the fifteen years of the war period. The article reveals how they articulated dissatisfaction with the Japanese cultural agenda while working within Japanese colonial institutions.

Chinese Women Writers and the Japanese Occupation. University of British Columbia Press, This volume reveals the literary world of Japanese-occupied Manchuria Manchukuo, and examines the lives, careers, and literary legacies of seven prolific Chinese women writers during the period: Smith shows how a complex blend of fear and freedom produced an environment in which Chinese women writers could articulate dissatisfaction with the overtly patriarchal and imperialist nature of the Japanese cultural agenda while working in close association with colonial institutions.

Toward a New Form of Public Art. Based on archival research, this article presents a succinct history of the street theater movement in China through the s. It examines how complex discourses and competing visions, as well as historical events and practices—in particular the War of Resistance against Japan—both shaped and propelled the movement.

The author focuses on theoretical and practical issues that promoters and practitioners of street theater dealt with and reflected on in three succeeding stages. Observing that the street theater movement hastened the formation of a modern national imagination, the author argues that the movement presented a paradigmatic development as it foregrounded the imperative to engage rural China as well as the need for participants to acquire new subject positions. Empire of Texts in Motion: Drawing extensively on vernacular sources in Japanese, Chinese, and Korean, this book analyzes the most active of these contact nebulae: Such efforts not only blurred distinctions among resistance, acquiescence, and collaboration but also shattered cultural and national barriers central to the discourse of empire.

In this context, twentieth-century East Asian literatures can no longer be understood in isolation from one another, linked only by their encounters with the West, but instead must be seen in constant interaction throughout the Japanese empire and beyond. Words and Their Stories: As China joins the capitalist world economy, the problems of social disintegration that gave rise to the earlier revolutionary social movements are becoming pressing.

Instead of viewing the Chinese Revolution as an academic study, these essays suggest that the motifs of the Revolution are still alive and relevant. In spite of dislocations and ruptures in the revolutionary language, to rethink this discourse is to revisit a history in terms of sedimented layers of linguistic meanings and political aspirations. Earlier meanings of revolutionary words may persist or coexist with non-revolutionary rivals.

Recovery of the vital uses of key revolutionary words proffers critical alternatives in which contemporary capitalist myths can be contested.

Literary Identity/Cultural Identity: Being Chinese in the Contemporary World | MCLC Resource Center

The National Forms Debate. Ablex Publishing, , This effort merits reappraisal in contemporary China, when differing interests and newly divided classes make the national consensus highly vulnerable. Willmott, Mary Katharine and Yu Teh-chi. Japanese Colonial Literature in Taiwan and Manchuria. Drawing on a wide range of Japanese and Chinese sources, Representing Empire reveals not only a nuanced picture of Japanese literary terrain but also the interplay between imperialism, nationalism, and Pan-Asianism in the colonies.

While the existing literature on Japanese nationalism has largely remained within the confines of national history, by using colonial literature as an example, Ying Xiong demonstrates that transnational forces shaped Japanese nationalism in the twentieth century. With its multidisciplinary and comparative approach, Representing Empire adds to a growing body of literature that challenges traditional interpretations of Japanese nationalism and national literary canon. Mobile Women in the s. Zhou, Xiaoyi and Q.

Wartime Culture in Guilin: A City at War. First, the Guangxi warlord group played a crucial role in maintaining regional security, providing a liberalized political environment for wartime cultural activities and facilitating wartime nationalist—communist relations at both local and national levels. Third, wartime culture was characterized by the active participation of many international groups, political organizations, and foreign individuals.

The literary works produced in Guilin between and clearly reflected a combination of Chinese national and international anti-fascist and anti-military sentiment. Chinese literary masterpieces were translated into different foreign languages and noted foreign literature and political works were introduced to Chinese audiences through various cultural and political exchange programs in the city. Contemporary Chinese Prose Poetry. Chinese prose poetry today is engaged with a series of questions that are fundamental to the modern Chinese language: What is it good for?

How should it look and sound? Millions of Chinese readers encounter prose poetry every year, both in the most official of state-sponsored magazines and in the unorthodox, experimental work of the avant-garde. Recite and Refuse makes their answers to our questions about prose legible by translating, surveying, and interpreting prose poems, studying the people, politics, and contexts that surround the writing of prose poetry.

Admussen argues that unlike most genres, Chinese prose poems lack a distinct size or shape. Their similarity to other prose is the result of a distinct process in which a prose form is recited with some kind of meaningful difference—an imitation that refuses to fully resemble its source. This makes prose poetry a protean, ever-changing group of works, channeling the language of science, journalism, Communist Party politics, advertisements, and much more. The poems look vastly different as products, but are made with a similar process. Focusing on the composition process allows Admussen to rewrite the standard history of prose poetry, finding its origins not in but in the obedient socialist prose poetry of the s.

Recite and Refuse places the work of state-sponsored writers in mutual relationship to prose poems by unorthodox and avant-garde poets, from cadre writers like Ke Lan and Guo Feng to the border-crossing intellectual and poet Liu Zaifu to experimental artists such as Ouyang Jianghe and Xi Chuan.

Columbia UP, , xiii-xxxviii. The Persistence of Traditional Forms. Literature and Politics in Contemporary China. Rpt in Cyril Birch, ed. Fiction in Communist China. Ideology and Iconography during the Seventeen Years Period. The essay examines films produced during the Seventeen Years period and suggests that political campaigns may be akin to film genres. Insofar as generic distinctions of theme and style are produced according to the shifting interests of critics and producers, campaigns have produced a politically motivated typology.

The examination of campaigns as genrelike offers an opportunity to rethink the connection not only between Maoism and its cultural manifestations but also between ideology and form in general. Aesthetic Formation and the Image of Modern China: The Philosophical Aesthetics of Cai Yi.

Revolution and Its Narratives: Karl and Xueping Zhong. Through theoretical, empirical, and textual analysis of major and minor novels, dramas, short stories, and cinema, Cai Xiang offers a complex study that exceeds the narrow confines of existing views of socialist aesthetics. By engaging with the relationship among culture, history, and politics in the context of the revolutionary transformation of Chinese society and arts, Cai illuminates the utopian promise as well as the ultimate impossibility of socialist cultural production. Translated, annotated, and edited by Rebecca E.

Croom Helm, , Dream Rhetoric and Fiction in the Mao Era. University of Washington Press, Union Research Institute, Union Research Institute, , Deng Tuo and the Intelligentsia. Parodying the Genre of the Rightist Fiction. Poetry and the Great Leap Forward.

Modern Chinese Literature and Culture

MIT Press, , From Realism to Modernism in China. The Politics of Drama Reform in China after Elite Strategies of Resocialization. New York University, Literary Doctrine in China and Soviet Influence, Press Universitaire de France, Literary Dissent in Communist China. In Ban Wang, ed. This article examines the complex relationship of the state, market, and artists in pingtan storytelling in post China.

What is modernity? : writings of Takeuchi Yoshimi

The result was that censorship was not as strictly and efficiently enforced as has been assumed. Codes of Consumption in Fiction from New China. While these scenes may appear marginal at first glance, the analysis demonstrates how food and its consumption function as codes to normative values. I am therefore proposing a reading of these texts based on the model of intertextuality Julia Kristeva and on an anthropological model on food consumption Mary Douglas , advocating that acts of consumption reveal social hierarchies and the position of the individual therein. These fictional scenes of everyday activities construct fictional characters as heroes or villains.

Given the normative value of this officially endorsed literature, these scenes at the same time prescribe and, likewise, proscribe certain behavior to their readers. On another level, however, these codes also convey information that could not be openly spelled out at the time, as when the sharing of food is the only way in which two fictional characters can express their love.

Simple food can thus be the source of entertainment, enjoyment, suspense, and even nostalgia for contemporary readers, which, in turn, may be one of the reasons for the lasting popularity of the codes described and of a number of the texts presented in the analysis. Heroes and Villains in Communist China: Yangge in Beijing in the Early s. Milestones on a Golden Road: Writing for Chinese Socialism, Literature created under and by a repressive regime is rarely accorded the same respect as works that go against the party line.

King presents eight pivotal works of fiction produced in four key periods of Chinese revolutionary history: Addressing questions of literary production, King looks at how writers dealt with shifting ideological demands, what indigenous and imported traditions inspired them, and how they were able to depict a utopian Communist future to their readers, even as the present took a very different turn. Defining the Chinese Self in the 20th Century. Bochum UP, , Who had the power to innovate in the linguistic and literary realms in the high Mao era?

To date, scholars have emphasized a top-down enforcement of formulaic language through a mixture of Communist Party organization and Maoist charisma. This article challenges the exhaustiveness of that model by articulating the circulation, appropriation, and modulation of literary tropes during the political campaigns of — To this end, it traces the widespread uptake of the titular metaphor of the Hundred Flowers Campaign and its proliferation throughout public debate.

In exploring this battle over the metaphorical season, this article reimagines the Hundred Flowers, Rectification, and Anti-Rightist campaigns through the lens of literary exchange. It argues that in distinct cases it was control of public discourse through literary virtuosity that constituted a key battleground during the campaigns.

Studies in Chinese Communist Terminology, no. The Uses of Literature: Life in the Socialist Chinese Literary System. Princeton University Press, The Chinese Literary Scene Since Marxist Literary Thought and China: Roberts, Rosemary and Li Li, eds. Hong Kong University Press, It covers a representative range of genres including novels, short stories, films, TV series, picture books, animation, and traditional-style paintings. A critical examination of these works reveals their sociopolitical and ideological import, aesthetic significance, and function as mass cultural phenomenon at particular historical moments.

This volume marks a step forward in the growing field of the study of Maoist cultural products. National Rejuvenation and the Bildungsroman, Song, Mingwei and Shengqing Wu, editors. Song, Yongyi, chief editor. Chinese University Press, Narrative and Vanishing Pasts in Modern China. On the Logics of Socialist Realism.

Indiana UP, , The adoption and development of zhivaya gazeta lit. Indeed, the very nature of Chinese communism under Mao provided the perfect environment in which this form of theatre could thrive]. Through an analysis of Third Sister Liu , a popular musical of the early s, this article illustrates how the Chinese Communist Party mobilized state and society to express disparaging ideas about the intellectual during the Great Leap Forward.

The Chinese intellectual was not any specific social type, group, or individual, but a substrate upon which the party organized and promoted its vision and division of society. The analysis illuminates heretofore obscured dimensions of Communist Party rule and experiences of those affected by the classification. Van Fleit Hang, Krista. Literature the People Love: In the Maoist period, authors and the communist literary establishment shared the belief that art could reshape reality, and was thus just as crucial to the political establishment as building new infrastructure or developing advanced weaponry.

Literature the People Love investigates the production of a literary system designed to meet the needs of a newly revolutionary society in China, decentering the Cold War understanding of communist culture. Krista Van Fleit Hang shows readers how to understand the intersection of gender, tradition, and communist ideology in essential texts. Palgrave Macmillan, , The Chinese Literary Universe, Socialist Cosmopolitanism offers an innovative interpretation of literary works from the Mao era that reads Chinese socialist literature as world literature.

As Nicolai Volland demonstrates, after China engaged with the world beyond its borders in a variety of ways and on many levels—politically, economically, and culturally. This literary space, reaching from Beijing to Berlin, from Prague to Pyongyang, from Warsaw to Moscow to Hanoi, allowed authors and texts to travel, reinventing the meaning of world literature. Chinese socialist literature was not driven solely by politics but by an ambitious—but ultimately doomed—attempt to redraw the literary world map. The Chinese Debate in the Mid-Fifties.

Love, Pavel, and Rita. Historical Fiction in a Socialist Environment: The GDR and China. McPherson , In the Party Spirit. Modernity with a Cold War Face: The year witnessed China divided into multiple political and cultural entities. How did this momentous shift affect Chinese literary topography? Modernity with a Cold War Face examines the competing, converging, and conflicting modes of envisioning a modern nation in mid-twentieth century Chinese literature.

Bridging the divide in both literary historical periodization and political demarcation, Xiaojue Wang proposes a new framework to consider Chinese literature beyond national boundaries, as something arising out of the larger global geopolitical and cultural conflict of the Cold War. Examining a body of heretofore understudied literary and cultural production in mainland China, Taiwan, Hong Kong, and overseas during a crucial period after World War II, Wang traces how Chinese writers collected artistic fragments, blended feminist and socialist agendas, constructed ambivalent stances toward colonial modernity and an imaginary homeland, translated foreign literature to shape a new Chinese subjectivity, and revisited the classics for a new time.

Reflecting historical reality in fictional terms, their work forged a path toward multiple modernities as they created alternative ways of connection, communication, and articulation to uncover and undermine Cold War dichotomous antagonism. Creating and Performing new Gushi in China, Zhongguo wenxue yishu jielian hehui, A Feminist Brave New World: The Ohio State University, Columbus, The Chinese Cultural Revolution, Gotebord, Graphic Systems, New Songs of the Battlefield: Songs and Memories of the Chinese Cultural Revolution.

University of Pittsburgh, Out of the Crucible: Literary Works about the Rusticated Youth. Chinese Model Theater and Western Influences. Cross-cultural Performance and the Staging of Difference. Tradition, Memory, and Women in Model Theater. University of Hawaii, , The Imagined Communities in Model Theater.

Writing the Global Conflict. Cheng Shi, et al. Wenge xiaoliao ji A collection of Cultural Revolution jokes. Xinan caijing daxue, Theory and Practice, Shaping New Cultural Patterns. University Press of Hawaii, , The Chinese Cultural Revolution: University of Cambridge Press, A groundbreaking study of cultural life during a turbulent and formative decade in contemporary China, this book seeks to explode several myths about the Cultural Revolution officially — Through national and local examination of the full range of cultural forms film, operas, dance, other stage arts, music, fine arts, literature, and even architecture , Clark argues against characterizing this decade as one of chaos and destruction.

Rather, he finds that innovation and creativity, promotion of participation in cultural production, and a vigorous promotion of the modern were all typical of the Cultural Revolution. Using a range of previously little-used materials, Clark forces us to fundamentally reassess our understanding of the Cultural Revolution, a period which he sees as the product of innovation in conflict with the effort by political leaders to enforce a top-down modernity. Modelling a new culture; 2. Spreading the new models; 3.

Fixing culture on film; 4. Music, Politics, and Cultural Continuities. Bringing together the most recent research on the Cultural Revolution in China, musicologists, historians, literary scholars, and others discuss the music and its political implications. Combined, these chapters, paint a vibrant picture of the long-lasting impact that the musical revolution had on ordinary citizens, as well as political leaders. Palgrave MacMillan, , Jiang Qing, model drama, and behind the scenes. Zhonghua gongshang lianhe, SUNY Press, , An Analysis of the Revolutionary Yangbanxi. Dittmer, Lowell and Chen Ruoxi.

Ethics and Rhetoric of the Chinese Cultural Revolution. UC, Center for Chinese Studies, Esherick, Joseph, Paul G. Pickowicz, and Andrew G. The Chinese Cultural Revolution as History. The Centennial of the End of the Qing Dynasty. As a prominent component shaping the culture of the CR, model Beijing Opera jingju is the epitome of art used for political ends. This book provides exactly this much-needed dimension of analysis by scrutinizing the decisions made in the real, practical context of bringing dramatic characters to life on stage and by examining how major artistic elements interacted with one other, sometimes harmoniously, sometimes antagonistically.

Making use of first-person accounts of the creative process, including numerous interviews conducted by the author, Fan presents a new appreciation of a lived experience that, on a harrowing journey of coping with political interference, was also filled with inspiration and excitement. Observations of a Western Diplomat on the Cultural Revolution. The Cultural Revolution and Post-Modernism. Historical Dictionary of the Chinese Cultural Revolution. Lanham, Toronto, and Oxford: The Scarecrow Press, Yearbook of the International Society for Book Science. The Cultural Revolution Revisited.

Heinemann Educational Books, The Chinese Literary Scene: Aesthetic Afterlives of the Cultural Revolution. Tapestry of Light offers an account of the psychic, intellectual, and cultural aftermath of the Chinese Cultural Revolution. Drawing on a wide range of works including essay, fiction, memoir, painting and film, the book explores links between history, trauma and haunting. Challenging the leftist currents in Cultural Revolution scholarship, the tone pervading the book is a rhythm of melancholia, indeterminacy but also hope.

Heroism in the Cultural Revolution Model Operas. University of British Columbia, Allegory and Evasion in the Mids. Making the Militant Hero Prominent. King, Richard, Ralph C. Journal of Contemporary Chinese Art 1, 2 Fall Sexing the Cultural Revolution. The Chinese Cultural Revolution Reconsidered: Beyond Purge and Holocaust. Rural Industrialization in China—C.

Essays, Articles, Reviews 1 Performative Politics and Petrified Images: International University Bremen, This book is the first to do so. By analyzing secret archival documents, Daniel Leese traces the history of the cult within the Communist Party and at the grassroots level.

However, they did not anticipate that Mao would use this symbolic power to mobilize Chinese youth to rebel against party bureaucracy itself. The result was anarchy, and when the army was called in, it relied on mandatory rituals of worship such as daily reading of the Little Red Book, to restore order. Such fascinating detail sheds light not only on the personality cult of Mao, but also on hero-worship in other traditions.

Mao and the Cultural Revolution. Carol Appleyard and Patrick Goode. Allison and Bushby, List of the Yangbanxi Barbara Mittler. Lu, Guang and Xiaoyu Xiao. The Rhetoric of Ideological Conflicts. A Zizekian Reading of the Cultural Revolution. Rhetoric of the Chinese Cultural Revolution: University of South Carolina Press, The Social Psychology of Rebel Youth.

Chinese Views of Childhood. Making and Unmaking the Yangbanxi. Special Issue, Traditional Music and Composition 2 Art and Culture in Revolutionary China. Making Sense of Cultural Revolution Culture. Cultural Revolution Culture, often denigrated as nothing but propaganda, not only was liked in its heyday but continues to be enjoyed today.

A Continuous Revolution sets out to explain its legacy. By considering Cultural Revolution propaganda art—music, stage works, prints and posters, comics, and literature—from the point of view of its longue duree, Barbara Mittler suggests that Cultural Revolution propaganda art was able to build on a tradition of earlier art works, and this allowed for its sedimentation in cultural memory and its proliferation in contemporary China.

Taking the aesthetic experience of the Cultural Revolution as her base, Mittler juxtaposes close readings and analyses of cultural products from the period with impressions given in a series of personal interviews conducted in the early s with Chinese from diverse class and generational backgrounds. By including much testimony from these original voices, Mittler illustrates the extremely multifaceted and contradictory nature of the Cultural Revolution, both in terms of artistic production and of its cultural experience.

The Morning Sun Produced and directed by Richard Gordon and Carma Hinton. Yang-pan hsi—New Theater in China. On-line Center of Cultural Revolution Studies. Tempered in the Revolutionary Furnace: Based on interviews, reminiscences, diaries, letters, and newspaper accounts, the work examines the varied, and often perplexing, experiences of the seventeen million Chinese students sent to work in the countryside between and Those same adults would lead the nationwide protests in the winter of that forced the government to abandon its policy of rustication.

Perry, Elizabeth and Li Xin. Remembering the Chinese Cultural Revolution: Rethinking Cultural Revolution Culture. Conferencee website Heidelberg, Feb. Theatrical Costume in Cultural Revolution China. Gender and Sexuality in Asia and the Pacific 16 March Historical Continuities and Cultural Transgressions. Here is a convincing reflection that changes our understanding of gender in Maoist culture, esp. Drawing on contemporary theories ranging from literary and cultural studies to sociology, this book challenges that established view through detailed semiotic analysis of theatrical systems of the yangbanxi including costume, props, kinesics, and various audio and linguistic systems.

The Cultural Revolution and the Holocaust. Bridge Across Broken Time: Chinese and Jewish Cultural Memory. Yale University Press, Biography of a Chairman Mao Badge. Enemies of the People: After Mao launched the Cultural Revolution in , vast numbers of students, workers, peasants and other ordinary people divided into hostile groups that violently fought against each other for more than a year and a half.

But research by the speaker that included a large number of in-depth interviews in the s and s with former participants in these conflicts revealed that the fighting between groups was actually the consequence of mounting tensions within Chinese society prior to the Cultural Revolution. The upheavals in the Cultural Revolution pitted those who had earlier been favoured by Communist Party policies against those who had been disfavoured. But the nature of grievances and antagonisms differed from group to group—be they students, workers, peasants or government office workers.

As a result, there were a number of different types of upheavals, generated by different reasons, in different sectors of society. Examining these provides insights into the complex fabric of Chinese society under Mao. Keywords Set to Music. A Terrible Beauty is Born. Wasserstron, Jeffrey and Sue Tuohy, eds. Yang, Guobin and Ming-Bao Yue, eds. Chinese Fiction of the Cultural Revolution. Hong Kong UP, Literary Conventions in Cultural Revolution Novels. Master Narratives and Post-Mao Counternarratives. Yee, Law Kam, ed. Fron Shajiabang to Sagabong.

Reaktion Books, , Culture in the New Age Retrieving Historical Experience in Scar Literature. Chinese Literature Summer In Howard Goldblatt, ed. The Fourth Congress of Writers and Artists. Chen Fong-ching and Jin Guantao. From Youthful Manuscripts to River Elegy: Chinese University of HK Press, University of Delaware Press, It examines how its discursive strategies, structural features, and aesthetic possibilities are presented and how varied literary tropes are used in an attempt to unravel human experience in all its aspects.

Democracy Wall and the Unofficial Journals. Ludwig Bolzmann Institut fur China, , Critical Concepts in Literary and Cultural Studies. Border Crossing in Social Problem Plays. Body Politics in Post-Maoist Theater. Also in Chen, Acting the Right Part: Development and Change in China. Choy, Howard Yuen Fung. University of Colorado, The Sichuan Avant-garde, Kontexte der Gewalt in moderner Chineschiche Literatur.

Cultural Exploration in Contemporary Chinese Fiction. University of Cardiff Press, Dress, Sex and Text in Chinese Culture. Monash Asia Institute, , Pop Goes the Avant-garde: Experimental Theater in Contemporary China. The first comprehensive review of the history and development of avant-garde drama and theater in the PRC since Studies in Comparative Literature.

Chinese Literature on the Rebound. Chinese Literature From the s: Recent Chinese Writing and Its Audiences. Schrifsteller und ihre Kurzgeschicten in den Jahren Cycles of Repression and Relaxation: Politco-Literary Events in China, From the Cultural Revolution to the Future.

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La petite revolution culturelle. A Handbook of Changes. A Guide for Teaching. Tales of Future Past: Anticipation and the Ends of Literature in Contemporary China. Most studies of Chinese literature conflate the category of the future with notions of progress and nation building, and with the utopian visions broadcast by the Maoist and post-Mao developmental state. The future is thus understood as a preconceived endpoint that is propagated, at times even imposed, by a center of power.

In doing so, Paola Iovene connects the emergence of new literary genres with changing visions of the future in contemporary China. This book provides a nuanced and dynamic account of the relationship between state discourses, market pressures, and individual writers and texts. Engaging with questions of translation, temporality, formation of genres, and stylistic change, Iovene mines Chinese science fiction and popular science, puts forward a new interpretation of familiar Chinese avant-garde fiction, and offers close readings of texts that have not yet received any attention in English-language scholarship.

Far-ranging in its chronological scope and impressive in its interdisciplinary approach, this book rethinks the legacies of socialism in postsocialist Chinese literary modernity.

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A New Start for Literature in China. Haus der Kulturen der Welt, , Chinese Literature after the Gang of Four. Rusticated Youth in Three Novels of the s. Chinese Literature and Society, Journal of Chinese Language Teachers Association 17, 1 Institute of International Relations, , Larson, Wendy and Richard Krauss. Reflections on Post Chinese Fiction. Troubadours, Trumpeters, Troubled Masks: The Politics and Poetics of the s in Place of History.

Editions Tigre de Papier, Calling on over thirty years of acquaintance with China including five years spent studying the cultural scene in Beijing during the s, the author here traces the imbrication of culture, politics, and history of a decade when everything seemed possible. Larson and Anne Wedell-Wedellsborg, eds. Modern and Postmodernism in Chinese Literary Culture.

Aarhus UP, , Rio de Janeiro, Brazil, , Lin, Min and Maria Galikowski. The Search for Modernity: La Litterature chinoise contemporaine, tradition et modernite: Letting a Hundred Flowers Blossom. Oxford University Press, , Theoretical Interventions and Cultural Critique. Mnemonic Disquiet in Heshang and Shuobu. Goulburn College of Advanced Education, , Between Fact and Fiction: Self-Discovery in the Chinese Villages. Wild Peony, , The Meaning of Love and Marriage in China, Reading Chinese Urban Fiction of the Nineties. Misogyny, Cultural Nihilism, and Oppositional Politics: Contemporary Chinese Experimental Fiction.

Cologne-Workshop on Contemporary Chinese Literature: Chinesische Schriftsteller der 80er Jahre. Special issue of Akzente Munich 2 April Human Rights and their Future in China. Two Reports from Hong Kong. Literature and the Arts in China, From Post-Maoism to Post-Marxism: Intellectuals and the State in Post-Mao China.

Lesen in der Volksrepublik China: Controversy over Meng-lung shih. Pan, Yuan and Jie Pan. Chinese Literature in the s.

From Elitization to De-Elitization. Recent Developments in Mainland Chinese Literature. Twitchell, Jeffrey and Huang Fan. The Nanjing Scene McDougall and Anders Hansson, eds. Writer, State, and Society—the Literary Evidence. In Search of a New Relationship. A View from Literature. China After Forty Years. China Research Monograph Center for Chinese Studies, , Perspectives in Contemporary Chinese Literature.

Green River Press, Modern Chinese Literature and the Supernatural. Laogai Research Foundation, , The Great Wall of Confinement: Chinese Avant-garde Literature of the s. As state control of private life in China has loosened since , citizens have experienced an unprecedented family revolution—an overhaul of family structure, marital practices, and gender relationships. Dominguez and David Y. Nov 16, Sooki is currently reading it Shelves: I just read one article, "What is modernity? Kevin Smith rated it it was ok Jan 16, Blair rated it really liked it Aug 08, Megan Evans rated it liked it May 23, Jeremy Hurdis rated it really liked it Sep 11, Quinn rated it really liked it Sep 20, Tom Barrett rated it it was amazing Jun 03, Po-hsi rated it it was amazing Jan 30, AK marked it as to-read May 19, Robin added it Jul 28, Skp added it Feb 14, Andrew marked it as to-read Mar 03, Dina marked it as to-read May 07, Alex marked it as to-read Nov 27, William added it Dec 02, Jacob Wren marked it as to-read May 04, Eadweard marked it as to-read May 08, Ricardo Ode marked it as to-read Dec 16, Tobias is currently reading it Dec 18, Steven Chang marked it as to-read Dec 30, Arlian marked it as to-read Jul 07, Blake marked it as to-read Jul 21, Gurrala Srinivas marked it as to-read Jul 23, Jabra Ghneim marked it as to-read Aug 04, P marked it as to-read Sep 16, Mollie added it Sep 28, Nicole Woods marked it as to-read Dec 11, Jrnm marked it as to-read Feb 08, Minami Hattori added it May 20, Asri Wulandari marked it as to-read Jun 20, Rusaba added it Oct 17, Jared marked it as to-read Feb 26, Amal marked it as to-read Feb 26, There are no discussion topics on this book yet.

His book-length study, Lu Xun ignited a significant reaction in the world of Japanese thought during and after the Pacific War. Takeuchi formed a highly successful Chinese literature study group with Taijun Takeda in and this is regarded as the beginning of modern Sinology in Japan.